You’re faced with existential questions every time you start a painting, which is what makes it worth looking at, and doing. My painting probably expresses two ideas: what it feels like to be alive, and what is art. Everything affects my painting, it’s unavoidable and better not to resist. I let the process sort itself out, like a conversation (or argument) with the painting; it's both mental and physical. An epiphany, in my teens, was hearing and seeing the improvisations of Miles and Coltrane live in clubs in Chicago. I felt inside the creative thinking of artistic geniuses in real time, while they did it. Painting is a comprehensive, open-ended, truly visual language, its essence prior to the word or narrative. Historically abstraction derives from all forms of art, but fundamentally it also underlies them. I want to make abstract paintings that are as full, rich, complete, and meaningful as the great master paintings of the past.
Gordon's acclaimed painting at Sideshow Gallery, May 4 - June 4. Many exhibitions since the late 1960s, multiple solo shows at Sideshow Gallery, Andre Zarre Gallery, Ericson Gallery, the Painting Center, 55 Mercer Gallery, and others; and many group shows including at the Paolo Baldacci, Peder Bonnier, Charles Cowles, Ledis Flam, Kouros, Janet Kurnatowski, and PS122 galleries in New York.
He received a BA in art from Brown Univ in 1966 and an MA in art from Hunter College in 1969, both in painting. He worked for Tony Smith and George Sugarman in their studios in the late 1960s. In 1966-67, Gordon studied photography with Aaron Siskind at the ID in Chicago. During 1968-78 Gordon also made avant-garde films, shown since in solo exhibitions at the Museum of Modern Art and internationally. Gordon’s writing on art has appeared in Commentary, The Wall Street Journal, The NY Sun, The Jerusalem Post, and Painter’s Table. danagordon.net